bridiem

But then it wouldn't be about both of them, or about true (mutual) love, or about sacrifice, etc. It would just be about him, being mistaken or blind or tricked or whatever. That's not a reading that would resonate much for me.

Yes, I wondered about that aspect. She can't be wholly a magical creation since there has to be a real woman somewhere with whom the prince falls in love, etc...

Yes - but through sacrifice. For me, that's the key and what makes Swan Lake so powerful.

Thanks John. Looks good to me except that the bodice of the tutu looks silver which I'm not sure I'd like. I suppose that means that Nunez and Muntagirov are first cast?

Gosh, yes, cavycapers! I've never paid great attention to the different types of tutu, but this one is truly awful.

But dancers don't always have complete freedom of choice as to when they retire, do they? I'm thinking particularly of Fiona Chadwick, who 'retired' from the RB in 1995 when she must have been about 35 and was basically in the prime of her career. That was a terrible decision in my view. But I assume an AD can still 'ask' someone to retire whether they want to go or not?! NOT, I hasten to add, that I'm suggesting this will or would or should happen to ANY of the dancers mentioned above!! Just raising the general question.

I found her feet the most fascinating aspect! Real dancer's feet (unsurprisingly, I suppose). It was Maximova's feet (seen on television) that first drew me to ballet.

It seems that his announcement on Facebook preceded the press releases from ENB and the RB (both of which I received after hearing about his post). Perhaps they were rushed out because of his announcement. I think as a matter of courtesy your employer should be allowed to announce such things before you make them public yourself. E.g. I recently resigned from my job in order to retire early next year, but although I told my immediate team I didn't tell other colleagues or discuss it with them until my employer had posted it on our Intranet. Admittedly I'm not a ballet star, and I don't post on Facebook; but there is still good practice. (Yes, I'm sure this sounds very old-fashioned. I just think there are good/proper ways of doing things, and ways that are not so good.) If I've misunderstood what happened, apologies to Cesar Corrales (not of course that he will care - or know- what I think!!).

So he resigned only a few months after being promoted to principal, which seems a bit surprising. I wonder where he will be dancing until next October. I will look forward to seeing him at the ROH.

Great interview, ToThePointe! Thanks very much for posting. I hope he continues to choreograph as well as exploring other art forms.

Being engaged in his journey and longing to be able to thoroughly enjoy his talent are comments about (at least some of) the audience, not about Polunin or the quality of what he presents. Neither are relevant in terms of a review of a performance. (And 'aspirations' are fairly irrelevant if they are not translated into achievement.) I didn't go to this, because I was too upset by what I saw at Sadler's Wells. And I am, sort of, engaged in his journey in the sense that I very much regret the path his career has taken; and I long to be able to enjoy his talent, but cannot because it so rarely now on show.

I think that the impact of movement to music (at its best) is so powerful that it caps the more cerebral effect of words.

I've just remembered Akane Takada's Giselle, which I found incredibly moving having had no real expectation at all beforehand. The purity, line, simplicity, dignity - bowled me over.

My most recent tears were in Gloria danced by Northern Ballet at the ROH. The dancers were so pure, so beautiful. so true; as soon as the three leads began dancing, I was overcome. That's never happened to me before in this ballet (much as I love it) so it took me completely by surprise. Leanne Benjamin and Lesley Collier in Requiem; again, the quiet, pure, contemplative beauty of the choreography and of their dancing. Juliet's silent, desperate scream by Romeo's body - that's brought forth tears many a time, especially with Cojocaru or Rojo. Alessandra Ferri in Woolf Works - the last act. Grave and dignified. Giselle's mad scene/betrayal, especially (again) Cojocaru and Rojo. Most of Act II of Akram Khan's Giselle - the sheer power of it, and the thrilling music. Penguin Café - the section with the man, the woman and the child (sorry can't remember what it's called); the essence of humanity so sweetly expressed. The Christmas tree growing in the RB's Nutcracker - gets me every time. Mark Morris's L'Allegro, il penseroso ed il moderato. Harmonious, joyful, positively celestial. Hofesh Shechter's Political Mother - tears of sheer excitement and exhilaration. And I don't think I've ever shed actual tears watching Symphonic Variations; but inwardly, they flow.

That's crazy - that's nearly as much as (or more than) the tickets I get at the ROH. And it's really bad because it reinforces the idea that ballet is only for rich people, which is precisely what these screenings are supposed to be countering.

This topic is making me cry!! With laughter - at the thought of us blubbing away because of the beautiful art form - and dancers - we love. I've cried many times at and after performances, but since I'm at work probably best not to start remembering them now or my keyboard will get damp.

Yes - and the part re Francesca Hayward's rise feeds what is largely a ballet myth, i.e. that really talented dancers go into companies and within a year are 'stars'. Which happens very rarely and does a disservice to all the dancers who develop into stars by years of hard work, development, learning, and increasing artistry. She clearly had/has star quality, but that doesn't always come to fruition. (And this is the Spectator after all, not a tabloid newspaper where you might expect the coverage to be superficial and so possibly inaccurate. With apologies to journalists on tabloids who do try to report accurately, of course.)

I was surprised when I read that, but I thought my memory must have been at fault. That's really bad reporting!

Which all makes it sound as if booking is really a bit of a lottery!

I saw Bussell/Cope/Soares in 2004 but not sure about the others.

There are also still a lot of people who are monarchists/royalists (not sure what the distinction is!) - witness the huge crowds for royal events and jubilees. And I don't think the papers would give it such a lot of coverage if they thought their readers weren't interested.

Just a quick note to say that I really enjoyed SMballet's comments. However: I agree that the ballet is often difficult to take seriously, and the sets and costumes are extremely old-fashioned; BUT, I loved it. Much of the choreography is excellent, the music is lovely, and the dancing of the principals was magnificent. I found moments strangely moving (e.g. the acknowledgement of Eros; Aminta's gentle gesture of love when he holds Sylvia's head in his hands; etc.). Its not Wayne McGregor; but if you can suspend disbelief, there is a huge amount to enjoy.

Thanks Margaret. Could someone clarify please: are all Insights now filmed and/or streamed? Or is it only selected ones?

Thank you so much Sim - this is brilliant!

I'm in the middle of reading it at the moment. It's clearly based on her diaries over the years so is chronological and detailed and I'm really enjoying it. It is quite frustrating sometimes though because Dame Beryl does sometimes pass over something which must have been very interesting - e.g. a meeting to resolve a conflict - by just saying 'it went satisfactorily'. But she doesn't pretend it was all a bed of roses - far from it. There have been a few places where it could have been better edited. And it's clearly written from her point of view (obviously) so a little reading between the lines may be required. But I'm finding it very absorbing and interesting (I've got to about 1969 so far!).